The Marriage of Figaro

The Marriage of Figaro – Wolfgang Amadeus Mozart

Comic opera in four acts.

Libretto by Lorenzo Da Ponte based on the play La Folle Journée, ou le Mariage de Figaro by Pierre Augustin Caron de Beaumarchais.

Approximate running time: 3 hours and 25 minutes

A brilliant score full of unpredictable twists that follows the principles of classical theatre unity: unity of place, time, and action.

Lorenzo Da Ponte, the librettist for Mozart in his famous Trilogy (Le nozze di Figaro, Don Giovanni, Così fan tutte), lived a life worthy of a novel: a traveler, director of the New Italian Theatre at the Viennese court, Italian professor in London, and friend of Casanova (who greatly influenced his portrayal of Don Giovanni), he ended up as a professor at Columbia University in New York, where he passed away.

On the other hand, Beaumarchais, with his extraordinary personality, shares with Da Ponte a life full of adventures: he was a watchmaker, inventor, playwright, piano teacher to Louis XV's daughters, spy, diplomat, editor, horticulturist, and revolutionary. Beaumarchais struggled for a long time to get Figaro or La folle journée published, as it was censored and obstructed by the king for its sharp social criticism targeting the arrogance of the ruling class—the aristocracy just before the French Revolution. The play showcases the social antagonism between classes, master-servant, and defends the moral superiority of the society’s base while encouraging revolt.

Le nozze di Figaro presents itself as an extraordinary monument, unmatched. A brilliant score full of unpredictable twists that follows the principles of classical theatre unity: unity of place (the Count's castle near Seville), time (18th century), and action.

The audience is invited to dive into the tumultuous life of this gallery of characters: the contemplative solitude of the Countess, an emancipated/astute Susanna in the face of male misogyny, an obedient Fígaro to the sadistic and abusive Count, and an innocent and love-struck Cherubino. A collection of characters in which, residing in the myth, a shared female suffering is exposed, stemming from violent male behavior. The only refuge for the women is their ability to show solidarity. Once they separate, they become vulnerable.

We can reduce this entire microcosm to a binary confrontation between the individualistic and aggressive male worlds and the sensitive and generous female one. All aspects and variations of love are captured here: from the contemplative idealism of Cherubino to the marital-wife, lover-courtesan, and parent-child relationships: a world of explorations and a perfectly defined and musically crafted manual by Mozart in each of the characters.

From fragility to violence, through generosity, joy, and the triumph of love... it becomes an eternal mirror for humanity. This new perspective presented by stage director Marta Pazos will reveal new meanings and confront the audience with the notion of seduction, while posing questions such as: what does it mean to be a man or a woman in today's society? What limits do we place on our desire? What does it mean to be a couple today? What are the consequences of our impulses or abuse?

Mozart, with Le nozze, marks the culmination of classical perfection in beauty, reaching humanity with a score of immense relevance and modernity, suggesting reflections that go beyond the plot. Thus, Le nozze continues to speak of our society and our time, challenging the institution of marriage and, in light of the #metoo movement, the abuse of power and sexual intimidation address a toxic masculinity that must be eradicated.

The different manifestations of love and reconciliation are the foundation of this work, and within the context of the prevailing Catholicism and Enlightenment of the time, Mozart proposes a final remedy: forgiveness, an intelligent and necessary form of repair.

Program and cast

Count Almaviva - Andrè Schuen | June 5, 8, 10, 13, 15, 18, and 21

Count Almaviva - Samuel Hasselhorn | June 4, 7, 9, 12, 14, 17, and 19

Countess Almaviva - Adriana González | June 5, 8, 10, 13, 15, 18, and 21

Countess Almaviva - Anett Fritsch | June 4, 7, 9, 12, 14, 17, and 19

Susanna - Sara Blanch | June 5, 8, 10, 13, 15, 18, and 21

Susanna - Anna Prohaska | June 4, 7, 9, 12, 14, 17, and 19

Figaro - Konstantin Krimmel | June 5, 8, 10, 13, 15, 18, and 21

Figaro - Alejandro Baliñas | June 4, 7, 9, 12, 14, 17, and 19

Cherubino - Julia Lezhneva | June 5, 8, 10, 13, 15, 18, and 21

Cherubino - Mercedes Gancedo | June 4, 7, 9, 12, 14, 17, and 19

Marcellina - Jennifer Larmore | June 5, 8, 10, 13, 15, 18, and 21

Marcellina - Mireia Pintó | June 4, 7, 9, 12, 14, 17, and 19

Bartolo - Roberto Scandiuzzi | June 5, 8, 10, 13, 15, 18, and 21

Bartolo - Alejandro López | June 4, 7, 9, 12, 14, 17, and 19

Basilio - Roger Padullés

Don Curzio - José Manuel Montero

Barbarina - Lucía García

Antonio - Luis López Navarro

Stage direction - Marta Pazos

Scenery - Max Glaenzel

Costumes - Agustin Petronio

Lighting - Nuno Meira

Production - Gran Teatre del Liceu

Choir of the Gran Teatre del Liceu

Conductor: Pablo Assante

Orquestra Simfònica del Gran Teatre del Liceu

Conductor: Giovanni Antonini